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The Electronic Arts Of Sound And Light, Volume 1 of Music for the Book
Artist/Band: Ron Pellegrino And Friends
All the music on this CD is made public for the first time outside of my solo and collaborative live performances. The music provides examples of the musical and philosophical positions articulated in my 1983 book, The Electronic Arts of Sound and Light, as well as those in the book I finished recently, Emergent Music And Visual Music: Inside Studies (2009). When that early book was published I had been operating for over a decade with a policy of only making my music available to the public via my personal appearances -- concerts, lecture-demonstrations, and radio and TV shows. My reasoning was straight forward. I was not a musical materialist; instead I wanted my music to be in and of the moment. I also wanted to be completely free of inside or outside pressure to repeat what I had done musically in the past (the tried and true method for establishing a commercial identity). Plus I was waiting for the right time in my life to release my musical work in a form that made sense to me. So until very recently I refused all offers to make my music available in any recorded form. Now the time is right for releasing my recordings and I am in the midst of preparing and releasing multiple CDs. One set of CDs (this set) will be connected to my book published in 1983 and the other set will be connected to my 2009 book.
Volume 1 of Music for the Book includes solo pieces and collaborations. The solo pieces include scores to some of the films in my Lissajous Lives Film Series (Video Slices, Too, and Paths (as Shimmer)) as well as music from several of my environmental designs (Metabiosis V, Kaleidoscopic Electric Rags, and Wavesong). From the late 60s through the mid 70s I did a series of Metabiosis events, what today would be called installations. Music from Metabiosis V is included on this CD to give listeners a sense of what went on musically for days as air currents generated by the ingress and egress of audience movement gently moved large suspended plexiglass lenses that reflected and refracted high intensity light into organic forms that crawled or raced around the inside walls of a darkened chapel lined with photoresistors that translated changes in light intensity into voltages that controlled an extended array of music synthesizers -- shaping, mixing, and distributing the specially designed sounds. In contrast, the music from Wavesong is an example of a very private and personal sound environment that I lived with for weeks in my home studio at Oberlin. I rented a sensational studio apartment from Oberlin College my last year in residence there. It had a huge great room with high ceilings, a fireplace, and floor to ceiling windows both on the side that bordered the campus and the side that looked out on a lush back yard. My road synthesizer system occupied some of that space and often filled it with Wavesongs that I was exploring based on my studies of cymatics, studies that included the beautiful work of Swiss physicist Hans Jenny.
The collaborations on the CD include duets with Gordon Mumma (1750 Arch Street), Howard Moscovitz (Listen), and Salvatore Martirano (Phoenix Rising); a performance of my media band The Real* Electric Symphony at Old First Church in San Francisco; an excerpt from an all-day performance of Kaleidoscopic Electric Rags by composers working with me at Oberlin College; and the final minutes of a dance gig by the Rigor Mortis Rescue Squad at Cat's Paw Palace for the Performing Arts in Berkeley.